Los Angeles Times' Scores

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For 16,536 reviews, this publication has graded:
  • 56% higher than the average critic
  • 6% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 2.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Sand Storm
Lowest review score: 0 Saw VI
Score distribution:
  1. Positive: 8,706 out of 16536
  2. Mixed: 5,813 out of 16536
  3. Negative: 2,017 out of 16536
16536 movie reviews
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  1. It Felt Like Love
    Hittman's debut isn't just a brilliantly tactile study of the mounting sexual curiosity and frustration of 14-year-old Lila (Gina Piersanti); it's also an important landmark in the oft-ignored subgenre of realistic movies about female adolescence.
  2. Rob the Mob
    Throughout Rob the Mob, De Felitta maintains an unfailingly sympathetic stance toward the lovers and the mafiosi alike, while keeping enough distance from all to disapprove of their dirty deeds and deter any viewer identification with them.
  3. Just a Sigh
    The film is a bracingly romantic drama that's alive with a mature sense of passion and mystery.
  4. Sabotage
    Artificially jacked up to feel like mean but serious fun, Sabotage mostly flings blood, vengeance, testosterone and clichés to the wall to see what sticks.
  5. Locker 13
    An alternately creaky and intriguing ride, one of earnest ambition and dashed potential.
  6. Awakened
    If the ostensible thriller contained a single believable moment, let alone an ounce of suspense, its nonsensical final twist might be grounds for concern.
  7. Boys of Abu Ghraib
    The film hardly scratches Abu Ghraib's surface.
  8. Falcon Song
    With its developers-versus-ranchers intrigue and touches of magic realism, the movie ends up playing like a mild-tempered oddity.
  9. Muppets Most Wanted
    Though there are many delicious little moments tucked inside, the action heads in so many directions it can be dizzying to keep up.
  10. Stay
    So many phrases out of characters' mouths are as overused and flavorless as a thrice-steeped tea bag, and yet a sturdy narrative structure, increasing thematic complexity and finely detailed performances from Aidan Quinn and Taylor Schilling make writer-director Wiebke von Carolsfeld's sophomore effort an agreeably pensive experience.
  11. On My Way
    It's the loosely connected encounters of the early sequences that are remarkable in their poignancy and humor.
  12. McCanick
    Familiar paternal regret gets ratcheted up here with an illogical and gratuitous investigative exercise.
  13. Maladies
    [A] tedious cinematic exercise.
  14. Anita
    If you can't place the name, or want to know more, Anita is a splendid place to start.
  15. The Den
    Like many found-footage films before it, The Den never entirely suspends disbelief. It doesn't satisfyingly account for how the characters are producing all the footage.
  16. Teenage
    It can feel repetitive and oversimplified. Aesthetically, though, it has an aching, dreamlike pull, constructing a panoramic view of history through the prism of collective and personal memory.
  17. Enemy
    Enemy may be built more on questions than answers, but in the probing it generates a satisfyingly arch hum of weirdness.
  18. Divergent
    It's an acceptable, play-it-safe version of the first volume in the hugely popular Veronica Roth-written trilogy.
  19. Nymphomaniac: Volume I
    It provides, perhaps like the experiences of love and sex, a shifting variety of insights, emotions, unexpected lightness and moments of visceral shock.
  20. Cheap Thrills
    Healy and Embry commit to their enervating roles with a heady mix of desperation and gusto, while Koechner is cleverly modulated as the evening's madman emcee. But Paxton, as the complicit yet impassive Violet, remains mostly a shiny accessory.
  21. Blood Ties
    There's a heft to the proceedings that keeps us invested even when the story's various strands start to unravel.
  22. A Birder's Guide to Everything
    The brusque teen humor, underpinning turmoil and sentiment all seem to be pulled and massaged from the same organic whole, and that's refreshing in a genre so often built on gimmicks and stereotypes.
  23. Tyler Perry's The Single Moms Club
    Tyler Perry's The Single Moms Club is a sitcom masquerading as a feature film... Too bad he didn't just spare us the awfulness of this flat and phony slices-of-life dramedy and go right to series, where half-hour bites might have helped mitigate the pain.
  24. Le Week-End
    Le Week-End is a sour and misanthropic film masquerading as an honest and sensitive romance. A painful and unremittingly bleak look at a difficult marriage, it wants us to sit through a range of domestic horrors without offering much of anything as a reward.
  25. Veronica Mars
    It is clear in every frame that the filmmakers and actors really appreciate that loyalty. It doesn't make for a particularly ambitious film, but it is a satisfying one as it moves easy, breezy over familiar terrain.
  26. Need For Speed
    Waugh has a good feel for the cars and action extremes, while director of photography Shane Hurlbut acquits himself nicely. But the screenplay written by George Gatins is full of potholes.
  27. Bad Words
    Sarcastic, sanctimonious, salacious, sly, slight and surprisingly sweet, the black comedy of Bad Words, starring and directed by Jason Bateman, is high-minded, foul-mouthed good nonsense.
  28. The Right Kind of Wrong
    When the movie isn't forcing its cuteness or R-rated humor, there's a frisson of genuine screwball to The Right Kind of Wrong.
  29. Tiger & Bunny: The Rising
    The mash-up of the superhero and buddy-cop genres turns out fresh and vital, offering glimpses of a future where reality television and drones proliferate and where conglomerates with bottom lines underwrite crime fighters.
  30. Junk
    Although Kaveh and Raul never transcend their archetypes as heartbroken single guy and too-comfortable married man, and Hamedani and Isao aren't naturals in front of the camera, their rapport ultimately makes Junk a worthwhile lark.
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